A rich and layered love story that begins in innocence and moves through hardship toward a broad humanity.
Hero of the French Resistance, diplomat, and two-time recipient of the Prix Goncourt under two different pen names, Gary (1914-1980; The Life Before Us, 1975, etc.) examines the fates of young love, naiveté, and idealism in his final novel, set in France during World War II and being published in English for the first time.
Ludo Fleury, an orphan raised in Normandy by his eccentric kite-building uncle Ambrose, suffers like the rest of his family from "an excess of memory." As a boy he falls desperately in love with a Polish nobleman's daughter, the beautiful and spirited Lila de Bronicki. Ludo visits the Bronicki estate in Poland ("a country accustomed to being reborn from its own ashes"), discusses politics with Lila’s brother, and competes with her German cousin Hans and a musical prodigy named Bruno for her affection. But war is looming, and the lives of all five become inexorably entangled in it. Gary, a Lithuanian Jew whose real name was Roman Kacew and whose life story reads more like fiction, writes with knowledge and empathy about occupied France and the struggle of ordinary people to resist. " 'Sensible' men...printed and distributed papers in which they spoke of 'immortality,' a word they employed frequently, despite the fact that they were always the first to die." The Fleurys' neighbor, a famous chef accused of collaborating, insists that just by setting foot in his restaurant, "any German with a shred of sense...can see he's dealing with supremacy, with historical invincibility." Ludo sustains himself with detailed memories of his time with Lila, though a fellow Resistance fighter warns him that when he sees her again she will have changed: "Even ideas stop resembling themselves when they're embodied." Gary's nuanced story avoids easy dichotomies. Ludo can't shake the idea that "the Nazis were human. And what was human about them was their inhumanity." Finding a dying German soldier, he thinks at first he recognizes the man, then realizes "what was familiar to me was the expression of suffering...German or French, in those moments, it's interchangeable."
A rich and layered love story that begins in innocence and moves through hardship toward a broad humanity.Pub Date: Oct. 31, 2017
ISBN: 978-0-8112-2655-4
Page Count: 375
Publisher: New Directions
Review Posted Online: Aug. 19, 2017
Kirkus Reviews Issue: Sept. 1, 2017
BOOK REVIEW
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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